
Author 



Title 



Imprint. 



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The Study of Henry Esmond 



H. A. DAVIDSON 



Topics and References 

Arranged for 

Study Clubs, Classes and 

Special Students 




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: 
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Second Edition. 



Copyright, 1899, x 9°4 by 

MRS. H. A. DAVIDSON, M. A., 

Albaity N. Y. 

Author of "The Study of Romola." "*The Study of Henry Esmond," "The 
Study of Silas Marner," and "The Study of the Vicar of Wake- 
field," "The Creative Art of Fiction," " The Study 
of the Idylls of the King," etc. 



Published by H. A. Davidson, 



Albany, New York. 







■■I 



THE STUDY OF HENRY ESMOND. 



THACKERAY'S DEFINITION OF HISTORICAL FICTION. 



What do we look for in studying the history of a past age? Is it 
to learn the political transactions and characters of the leading pub- 
lic men? Is it to make ourselves acquainted with the life and being 
of the time? If we set out with the former grave purpose, where is 
the truth? and who believes that he has it entire? What character of 
what great man is known to you? You can but make guesses as to 
the character more or less happy. In common life don't you often 
judge and misjudge a man's whole conduct, setting out from a wrong 
impression? The tone of a voice, a word said in a joke, or a trifle in 
behavior — the cut of his hair or the tie of his neckcloth may disfigure 
him in your eyes, or poison your good opinion ; or at the end of 
years of intimacy it may be your closest friend says something, 
reveals something which had previously been a secret, which alters 
all your views about him, and shows that he has been acting on 
quite a different motive to that which you fancied you knew. And 
if it is so with those you know, how much more with those you don't 
know ? Say, for example, that I want to understand the character of 
the Duke of Marlborough. I read Swift's history of the times in 
which he took a part, the shrewdest of observers and initiated, one 
would think, into the politics of the age — he hints to me that Marl- 
borough was a coward, and even of doubtful military capacity; he 
speaks of Walpole as a contemptible boor, and scarcely mentions, 
except to flout it, the great intrigue of the Queen's latter days, 




which was to have ended in bringing back the Pretender. Again I 
read Marlborough's life by a copious archdeacon, who had the com- 
mand of immense papers, of sonorous language, of what is called 
the best information ; and I get little or no insight into this secret 
motive which, I believe, influenced the whole of Marlborough's 
career /which caused his turnings and windings, his opportune fidelity 
and treason, stopped his army almost at Paris gate, and landed him 
finally on the Hanoverian side — the winning side. I get, I say, no 
truth, or only a portion of it, in the narrative of either writer, and 
believe that Coxe's portrait, or Swift's portrait, is quite unlike the 
real Churchill. I take this as a single instance, prepared to be as 
skeptical about any other, and say to the Muse of History, " O ven- 
erable Muse, daughter of Mnemosyne, I doubt every single state- 
ment you ever made since your ladyship was a muse! For all your 
grave airs and high pretensions, you are not a whit more trustworthy 
than some of your lighter sisters, on whom your partisans look 
down. You bid me listen to a general's oration to his soldiers: Non- 
sense! He has no more made it than Turpin made his dying speech 
at Newgate. You pronounce a panegyric of a hero ; I doubt it and 
say you flatter outrageously. You utter the condemnation of a 
loose character: I doubt it and think you are prejudiced and take 
the side of the Dons. You offer me an autobiography: I doubt all 
biographies I ever read; except those, perhaps, of Mr. Robinson 
Crusoe, Mariner, and writers of his class. These have no object in 
setting themselves right with the public or their own consciences ; 
these have no motive for concealment or half truths ; these call for 
no more confidence than I can cheerfully give, and do not force me 
to tax my credulity or to fortify it by evidence. I take up a volume 
of Dr. Smollett, or a volume of the Spectator, and say the fiction 
carries a greater amount of truth in solution than the volume which 
purports to be all true. Out of the fictitious book I get the express- 
ion of the life of the time; of the manners, of the movement, the 
dress, the pleasures, the laughter, the ridicules of society — the old 
times live again, and I travel in the old country of England* Can 
the heaviest historian do more for me? — From the beginning of 
Thackeray 's Essay on Steele — English Humorists, 




5 
THACKERAY'S POINT OF VIEW AND METHOD. 

The object of historical fiction must always be the reanimation 
of scenes long past, and the restoration of personality to the 
characters of men who have been forgotten on the human side 
through the importance of the great affairs in which they took part. 
This interpretation of a past age must come to us through the 
imagination of some great mind able to recreate the ambitions, 
hopes, and passions that accompanied the enacting of the deeds 
narrated now; but each writer of historical fiction approaches his 
task from an individual point of view which is determined by 
temperament, habit of mind, or theory of art. 

Mr. Thackeray's temper of mind led him to distrust profoundly 
the best biographies and histories that had been written. Biographies 
he denounced as partial and false, and he believed that the muse of 
history is pledged, almost of necessity, to partisan issues. It seemed 
to him that the human personality is compact of prejudices and 
weaknesses which reflect the age in which the man is born. His 
achievements may result from some happy conjunction of circum- 
stances which afford opportunity for the exercise of powers 
especially his own, and his descendants, fellow-beings much 
like himself in reality, fix their attention upon his great renown and 
in the light of it create, unconsciously, personal traits and qualities 
befitting their hero. With each generation, the fiction grows until 
the men of an earlier day loom up in the misty atmosphere of 
tradition with a stature far exceeding our own. Thus believing, 
Thackeray sought to strip away from great persons the illusions that 
have arisen with time ; he would have none of hero worship, but 
strove to restore the ordinary daily life of the man or the woman as 
it appeared in the view of intimates and dependents. He believed 
that a man's neighbor, or barber, or mistress, knew him better than 
the historians who have attempted to hand him down to posterity. 
In writiog historical fiction, it seems to have been his purpose to 
place readers behind the scenes and reveal men and women as they 
were known to one another. The complexity and difficulty of the 



■■n 




task seems appalling. A contemporary critic, in Fraser's Magazine, 
defined Henry Esmond as an attempt to ' ' realize the remoteness of 
the times by a patient and insensible process," and another critic 
writes, "We confess that a more desperate venture, one could hardly 
conceive it possible for a popular writer to make." 

Historical fiction written from this point of view furnishes an 
important contribution for the understanding of the past, but there 
is in the method one serious limitation, and the canvas is often 
defective in proportion and perspective. This is the reason. A man's 
intimates and dependents may understand perfectly his foibles ; 
they read his character with wonderful accuracy, and sometimes are 
able to predict his acts or decisions, but they often err in regard to 
the broader relations and purposes of his life, for these are bound up 
with affairs which lie outside of ordinary experience. The hidden 
motives that actuate men throughout long periods of time and 
determine courses of conduct directed to distant issues, are beyond 
the understanding of ordinary minds. In his attempt to place the 
reader on a footing of intimacy with great persons, our author often 
created a difficulty for himself. His insistence upon the contem- 
porary point of view often obscured or excluded the interpretation of 
the minute detail of his narrative. In this respect, as in many 
others, Thackeray requires of his readers the exercise of a higher 
order of mental power than any other writer of fiction ; he formu- 
lates the material for the imagination to work upon, but he leaves 
all in the complexity and confusion of real life, in which there is 
always the necessity of turning over and readjusting the parts of our 
piece. 

Like other great writers of fiction, Mr. Thackeray first ex- 
perienced the life he wrote of, then set it down on paper for readers. 
So complete was his identification with the scenes he wrote of, that 
the impression which remained in his own mind, was that of a real 
experience. Of a famous battlefield described in Henry Esmond, he 
wrote, " I was pleased to find Blenheim was just exactly the place I 
had figured to myself, except that the village is larger; but I fancied 
I had actually been there, so like the aspect of it was to what I 




looked for. I saw the brook which Harry Esmond crossed, and 
almost the spot where he fell wounded." In another letter, written 
while he was engaged upon Henry Esmond, he says, "I have been 
living in the last century for weeks past, in the day, that is ; going 
at night as usual, into the present age, until I get to fancy myself 
almost as familiar with one as with the other, and Oxford and 
Bolingbroke interest me as much as Russell and Palmerston — more, 
very likely." 



Note-Book Topics. 

Preliminary: 

I. Chronology of Composition of Henry Esmond. 
II. Reading and study done by Mr. Thackeray in preparation 
for writing Henry Esmond. 

III. Historical chart showing in parallel columns for the age of 
Anne, 

a. Rulers in France, England, Russia, Spain, Holland. 

b. Literary men, artists, etc. 

<• Important events j \ {££*£,_ inventionS] etc . 

For work throughout the course : 

IV. Chronology of the novel, Henry Esmond. 
V. List of characters in Henry Es?nond. 

Enter the name, at its first appearance, in the note-book, 
and star all historical characters. 

History in Henry Esmond : 

VI. A list of historical incidents, etc. , employed by Thackeray, 
with references to histories which are authorities for the facts 
or events. 

Any departure from historical accuracy, either in fact or in 
presentation of character, should be noted here. 




VII. Plot outlines : 

Those events or facts belong in a plot outline which deter- 
mine subsequent events. They give, in outline, the effective 
presentation of the theme and lead inevitably to the climax 
and conclusion. It is necessary, always, to distinguish care- 
fully between such events or facts as have determining force, 
and those incidents which are illustrative, or contribute to 
character building. 

The beginner who is uncertain whether an incident forms 
part of the plot outline or is only descriptive and illustrative 
may inquire whether anything results that would have hap- 
pened differently had this incident been changed . Let him 
remember that in each chapter all the facts or incidents really 
essential to the progress of the story belong in the plot outline, 
and no others. An outline of the plot elements found in chap- 
ter iii. is given in the directions for note-book work. This will 
illustrate both a convenient method of making such outlines, 
and the selection of essential points. Notice the reason for 
the selection of each point given — that it is, in a vital sense, 
the explanation, or cause, of something that happens thereafter. 

VIII. Special character study : 

Choose one of the characters of the novel for special study. 

Mark in your copy of the text every item of the analysis, 
description, and development of the character chosen, and 
inquire about, 

a. Appearance and pecularities as an individual. 

b. The particulars in which the character represents, 
typically, life in the age of Queen Anne. 

c. Moral qualities. 

d. Intellectual qualities. 

e. Weaknesses. 
/. Strength. 
g. Influence of persons 

character. 



and circumstances upon the 





//. Influence of the character upon persons and events. 
i. Purpose of the character in the development of the plot. 
j\ How does Thackeray present the character? 
k. If other novels have been studied, compare Thackeray's 
method with that of another writer. 

IX. Characteristics and Manners of the Age of Anne: 

Mark in the text and keep a list of headings, references, 
etc. Whatever in customs, amusements, class distinctions, 
occupations, beliefs, etc., marks that age as different from 
later times belongs here. A novel, like Henry Esmond, is 
especially rich in its contribution to an understanding of the 
social and political life of the period. 

X. Outlines, plans, and diagrams for reference : 

In studying an age of complicated affairs, like that of Queen 
Anne, the student will find brief outlines and graphic state- 
ments a great aid. These should be prepared from the 
histories, in convenient form for reference, for the life of 
Marlborough, the campaign in Europe, the Grand Alliance, 
etc. 



Note-Book Topics for Special Students 
and Teachers. 

XI. Antecedent Material : 

The beginning of a plot is always found in some incident, 
condition, relationship, which invariably brings on other 
incidents as a result, thus starting a course of conduct, a 
series of events, which lead to a climax and conclusion. In 
many novels it is necessary to acquaint the reader with 
incidents belonging to a time preceding the opening of the 




plot. This information is called antecedent material and is 
imparted to the reader by various devices, but does not form 
an integral part of the story. 

XII. Forecasts : 

These are hints about the future course of the story found 
in the earlier part of the narrative. 

XIII. Plot Dependent Upon History: 

Writers of skill in historical fiction so interweave real 
persons and events with fictive scenes that great moments 
coincide, and crises of action or impulse are determined, in the 
plot, by the presence of historical conditions or events. 
Thackeray often fails to show the vital importance in his 
story of the historical events which accompany its course. 
Persons or scenes seem introduced for the sake of association 
or atmosphere, but are in no sense vital to the development 
of the plot. The careful noting of illustrations of this critical 
requirement in historical fiction, or of the author's failure to 
meet it, will furnish material for a most instructive and valua- 
ble paper at the close of this study. 

XIV. Characteristics of Thackeray, the author: 

Put here notes of any peculiarity which seems to you to 
belong to Thackeray's work or habit of mind, with references 
to the illustrations that you have found. Do not look for 
such characteristics on the first page, or in the first chapter. 
They are there, but you should become familiar with an 
author before you venture to pronounce the peculiarity you 
notice a characteristic. If it be such, other illustrations of it 
will appear as you go on. This topic may be divided into 
several, each of which will furnish material for the forma- 
tion of critical opinion ; as, the mannerisms of Thackeray, his 
devices for giving the semblance of historical truth to his 
story, etc. 






XV. Special topics suggested for study and for written papers in 
connection with the study of Henry Esmond : 
Special topics should not be substituted for the regu- 
lar work. If any one has the time and inclination to pursue a 
special topic she should begin upon it at once and keep in her 
note-book all the results and conclusions at which she arrives, 
with references to the authorities which establish the point, or 
to illustrations of it which may be cited. Toward the close of 
the study of Henry Esmond, when all have a good general 
knowledge of the subject, these special topics may be pre- 
sented to the class or the literary circle, either as written 
papers or as oral discussions, and followed by questions and 
discussion on the part of others. A few topics which will prove 
interesting and profitable are suggested here: 
The theatre after the restoration. 
The coffee houses. 
The newspapers. 
The city of London — topography, streets, lights, means of 

conveyance, etc., etc. 
Sports and amusements. 
The practice of medicine. 
Duelling and gambling. 
The battle of Blenheim. 

A comparison of the character attributed to the Duke of 

Marlborough in the novel with the historical Marlborough 

A comparison of Thackeray's style in Esmond with the 

style in Queen Anne's age. 

Note. — Points to be considered are: The form of the narrative; 

the sentence structure; the phrases and idioms employed; the 

means employed for securing realism ; on this point, compare 

with Defoe's most realistic fiction. See especially Robinson Crusoe, 

Memoirs of a Cavalier, The History of the Plague, The Roger 

de Coverly papers, The Spectator \ The Tatler. Consult also Minto's 

Manual of English Prose Literature for the characteristics of 

Defoe's narrative art. 




DIRECTIONS FOR NOTE BOOK WORK. 



It is not the intention that each student should include all the 
note-book topics in his study. All the preliminary topics should be 
prepared and placed in the note-book for reference, in the beginning. 
Each one should keep The Chronology of the novel, The list of 
characters, and the Plot Outlines ; he may choose from the other 
topics according to time and personal inclination. Each topic has 
some direct bearing upon the novel as a work of historical fiction. 
Plot outlines may be marked in the text. 

The suggestions given below for the use of the note-book in the 
study of the text of the novel or of special topics are designed espec- 
ially for members of study clubs, teachers, and special students. In 
the secondary school, the pupil's use of the note-book may wisely be 
limited to the collection of data on a few clearly-defined topics, to 
map drawing, and to his own special character study. The princi- 
ple that note-books should contain only data really valuable for ref- 
erence, arranged and indexed in such form as to be readily accessible 
without loss of time, should be adhered to. 

Members of classes and reading circles should have two note- 
books: one for the orderly arrangement of whatever results of study 
may be worth preserving; the other should serve as a tabula rasa, 
for the making of notes while reading or listening to lectures. Each 
should select at least two note-book topics and give to them some 
special attention throughout the study of the novel. Each note-book 
topic is intended, if faithfully used, to furnish the material for some 
intelligent and critical opinion about the novel. 

Note-book work is of three kinds. First, there is the collection 
of data about the author and the particular work studied; this should 
be done in the beginning. Secondly, there is the collection of data 
upon special topics suitable for investigation; such data will serve, 
later, as a basis of critical inquiry : for instance, if the date of the 
opening scene of the novel is entered in the note-book under 
the heading, "Chronology of the story," and each succeeding period 
of time is noted as the reader finds mention of it, he will know, in 




13 



the end, the length of time covered by the dramatic action, how- 
many intervals occur, etc. The collection of such data is, of neces- 
sity, preliminary to any critical comparison of different novelists in 
regard to the time covered by their plots. It may be seen that the 
items to be entered under note-book topics will often be found singly 
and at intervals throughout the novel. It is convenient to write each 
topic at the top of a page, with a ruled column at the left for refer- 
ence to the pages of the text where items are found. The reader 
should keep his note-book always at hand and enter, in the fewest 
possible words, any item coming under one of his topics. When a 
page is filled, he should refer, at the bottom, to the nearest page 
in the book which happens to be blank, and at the top of that 
repeat the topic-title with a reference to the former page. In this 
manner, it is easy to use one note-book for many topics, without con- 
fusion. Thirdly, there is note-book work upon the topics of study. 
Many readers whose mental discipline is not such that they habitu- 
ally organize the results of study will find the use of the pen a great 
aid to deflniteness of thought. After careful study, it is often profit- 
able to summarize analytically the conclusions reached. 

In note-book work, it is a mistake to write full sentences or par- 
agraphs. The note-book should contain, in outline, such facts, points, 
or references, as will enable the student to recall instantly his proof, 
his arguments, or his conclusions, or analyses. This does not apply 
to definitions or critical estimates, which can not be worded with too 
great care. Full and exact references should accompany all notes. 
The note-book is not the place for general statements, or the expres- 
sion of opinion, and that form of outline which consists in multiply- 
ing subdivisions by title, without inclusion of the results of study, 
should be avoided. For instance, nothing is gained by placing in 
the note-book the points suggested in Section /, The Author, under 
the topic " Thackeray's Childhood "; they are merely headings for 
the note-book. If ever the student has real need of the information 
gained and organized on this subject, he will wish to find a list of 
the schools attended, so arranged as to show, at a glance, name of 



14 

school, time spent in it, age of scholar, subjects, and special disci- 
pline, and with this data, references, by volume and page, to the 
book giving the full account. 

The copying into the note-book of quotations, or of critical opin- 
ion, separated from the context in which it is found, is unwise. It is 
a general principle that the student's ability to express in his own 
language an idea gained and noted by topic, analysis, and data, is a 
fair test of his fitness to pursue the subject of study. A thought 
which can be remembered only in the language of the writer from 
whom it is borrowed, is still unassimilated and often but half under- 
stood. On the other hand, the attempt to phrase the idea as it 
remains in the mind, without recurrence to the form of expression 
from which it was gained, is often an essential condition of intellect- 
ual growth. This applies especially to definitions and critical esti- 
mates ; the ordinary vocabulary lends itself easily and naturally only 
to the expression of experience, or of phases of thought long familiar. 
Whatever has been recently acquired, and corresponds to the best 
maturity and development of the mind, is difficult of expression, and 
if the mind is not to lose the infinitely precious treasure of new 
thought, there must be persistent effort to clothe the idea, in 
accurate and fitting language. 

It often pays to outline the plot elements of chapters, or the 
points in answer to topics, in convenient form for use in discussion. 
The following outline of the plot elements in chapters iii. and iv. will 
serve as an illustration : 



Life with old Pastereaux, 
" The aunt," etc. 



Plot elements in chapter iii : 
Henry Thomas. 

Antecedent facts unexplained: 
The child's knowledge of French. 
His faint recollections of another country. 
His friendship with Father Holt. 
The mystery, — the anomalous position of the child emphasized 

by the attitude of the servants on his arrival at Castlewood. 
Father Holt's power over Lady Isabel. 





15 
Father Holt teaches Henry Latin, French, Catholicism, secrecy. 

Plot elements in chapter iv: 

Father Holt's entire mastery of the boy's affection and mind. 
The incident of the mob shows, 

a. The partiality of Thomas Esmond for Harry. 

b. The attitude toward Catholics in England. 

c. The status of the political plot in which Thomas Esmond 

was involved. 



THE USE OF THE TEXT. 



It is desirable to use a copy of the text not too valuable for mark- 
ing. It is often convenient to note a series of facts by marginal 
references, or words, such as "Theme," " Plot," etc., and it facili- 
tates later study of the characters to write the initial letter of the 
name of each leading character in the margin whenever any descrip- 
tion, analysis, or other indication of personality, occurs. It will then 
be possible to trace any given character through the narrative 
without re-reading. — From the " Study of Romola." 



THE DIVISION INTO SECTIONS. 



The topics for study are divided into sections with reference to 
the natural grouping of incidents in the structure of the romance. 
The number of topics in one section may prove too many for one 
meeting, or too few for another. The program committee, or the 
instructor in charge of a class should re-arrange with reference to 
the time at disposal. It is wiser to increase the number of topics for 
one meeting toward the end of the course. Slow, careful work in 
the beginning prepares the way for more rapid reading later, but it 
is always better to select part of the topics in a section and do the 
work well than to go over many topics superficially. 






i6 



Topics and References for the Study of 
Henry Esmond. 



REFERENCES. 



Books which should be owned: 

A copy of Henry Esmond, not too valuable to mark. 

Thackeray, by A. Trollope, English Men of Letters, Harper 
and Bros. 

The Age of Anne, by E. E. Morris, Epochs of Modern History, 

The Reign of Queen Anne, by. Justin McCarthy ; or, Marl- 
borough, by G. E. Saintsbury, English Worthies ; or, The Fallen 
Stuarts, by F. W. Head, 1901 ; or, the War of the Spanish Suc- 
cession and the intrigues to restore the Stuarts. 

English Humorists, by W. M. Thackeray, edition edited by 
W. L. Phelps; Holt and Company. 

Books which should be found in libraries : 
Thackeray's Life. 

Thackeray, by Merivale and Marzials, Great Writer Series. 

Thackeray, by A. Trollope, English Men of Letters. 

The Life of William Make-peace Thackeray, by Lewis Melville. 

(Full and interesting in matters of detail. ) 
Thackeray, A Study, by A. A. Jack. 
Thackeray, the Humorist and the Man of Letters, by J. C. 

Hotton. 
The Biographical Edition of Thackeray's Works, (Harper and 

Bros.) contains the introductions prepared by his daughter, 

Mrs. Ritchie ; the introduction to Henry Esmond is especially 

valuable, and this volume should be owned. 
Thackeray's Haunts and Homes, illustrated. By Sir Eyre 

Crowe. 
William Makepeace Thackeray, by Charles Whibley. 




wmmammmmm 



17 

Chapters from Some Unwritten Memoirs, by Anne Thackeray- 
Ritchie. 

The Thackerays in India, by Sir Wm. W. Hunter. 

With Thackeray in America, by Sir Eyre Crowe. 

Anecdote Biography of Thackeray and Dickens, by R. H. 
Stoddard. 

Thackeray's London, by William H. Rideing. 

A collection of Letters of Thackeray (Mrs. Brookfield's col- 
lection). 

Little Journeys to the Homes of Good Men and Great, by Elbert 
Hubbard. 

The Age of Anne : 

The History of England, by James Bright, 4 vols. 
Note. — This History of England is inexpensive, and is admira- 
bly equipped with maps, plans, genealogies, etc., and is reliable. It 
is the best general history for facts, for the student of literature. 
Historical Atlas, arranged by S. R. Gardiner. 
The Reign of Queen Anne, by Justin McCarthy. 
The Queen's Comrade, Life and Times of Sarah, Duchess of 

of Marlborough, by Fitzgerald Malloy. 
Club Life in London, by Timbs. 
Plays and Puritans, by Charles Kingsley. 
Social Life and Customs in the Reign of Queen Anne, by John 

Ashton; An invaluable mine of information. Illustrated. 
A History of the Reign of Queen Anne, by J. H. Burton. 
The Reign of Anne, by Mrs. M. O. N. Oliphant. 
Historic Characters of the Reign of Queen Anne, by Mrs. 

M. O. N. Oliphant. 
English Lands, Letters, and Kings, by Donald G. Mitchell, 

vols. ii. and iii. 
English Literature and Society in the Eighteenth Century, by 

Leslie Stephen. 
Macaulay's History of England, vol. i., chapter iii. 
William III., by H. D. Trail, Twelve English Statesmen. 




Epochs of Modern History : 

The Fall of the Stuarts, by E. Hale. 
The Age of Anne, by E. E. Morris. 

The English Restoration and Louis XIV., by Osmund Airy. 
The Early Hanoverians, by E. E. Morris. 
In Green's Shorter History of the English People — 
Chapter ix., section i, on England and the Revolution. 
" "6, The Second Stuart Tyranny. 

*• " 7, William of Orange. 

" 8, The Grand Alliance. 
•« "9, Marlborough. 

Note. — The sections in Green are much condensed and are 
difficult reading for any but trained students, but are very impor- 
tant for those who would understand the important movements of 
the time, or the complicated foreign relations of England in this 
period, 

Chapters i. and ii., vol. ii., Lecky's England in the xviiith 
Century. 

Note. — These chapters contain a most important analysis of 
politics, parties, and conditions at this time. Chapter iv., in the 
same volume, is on the manners, morals, and life of this period. 

Volume iv. of Social England, by H. D. Traill, is on the period 
from the accession of James I. to the death of Anne, and con- 
sists of essays on the social, religious, and commercial develop- 
ment of England at that time. 

The Spectator. 

Memorials of St. James Place, by Sheppard. Contains a portrait 
of Queen Anne. 

Good Queen Anne ; Men and Manners, Life and Letters in 
England's Augustan Age, 1886, by Davenport Adams. 

Memoirs of the Court of England, during the reigns of William 
and Mary, Queen Anne, and the First and Second Georges. 
Historical Memoirs, by John Heneage Jesse. 

Vol. i., especially William III., John Churchill, Queen Anne. 





'9 

Vol. ii. , especially the Duke of Marlborough, Oxford and 

Bolingbroke. 
Vol. iii., Mrs. Masham, Atterbury, etc. 
Side-Lights on the Stuarts (to the Revolution, 1689.) 
Parliamentary England, The Evolution of the Cabinet System, 

by Edward Jenks, 1903. Chapters i.-iv., on changes before 

1715- 

Social Life in Old Virginia, by Thomas Nelson Page. 

Reproductions of Portraits of Historical Persons Appear- 
ing In Henry Esmond: 

In Court Memoirs, by J. H. Jesse, are many; in Parliamentary 
England, especially, Kneller's pictures of Bolingbroke and of 
The Earl of Oxford; Closterman's portrait of "The Great 
Duke ot Marlborough;" Jan Wyck's portrait of William III.; 
Lely's portrait of Sir William Temple, and many others. 

Special References for the life and character of the Duke of 
Marlborough : 

Life of John Churchill, Duke of Marlborough, to the accession of 
Queen Anne, by Sir Garnet Wolseley. Invaluable for study 
of the Duke's character, but expensive. 

Bolingbroke and His Times, by Walter Sichel, 1901 ; a book for 
students of history. 

Memoirs of Marlborough, with original correspondence from 
family records, by Rev. Wm. Coxe. Out of print; to be con- 
sulted in libraries. 

Marlborough, by G. E. Saintsbury, English Worthies. 

The Fallen Stuarts, by F. W. Head. 

The City of London in the Eighteenth Century: 

History of London, illus., by Sir Walter Besant. 
London in the Eighteenth Century, by Sir Walter Besant. 
London in the Tims of the Stuarts, by Sir Walter Besant. 
The Strand District, by Sir Walter Besant. 



The History of St. James Square, with maps; by Arthur Irwin 

Dasent. 
Highways and Byways in London, Illus. , by Mrs. E. T. Cook. 
London Afternoons; chapters on the social life, architecture, and 

records of the great city and its neighbors, by W. J. Loftie. 
London, by W. J. Loftie. Historic Towns. 
East London, by W. Besant. Illus. 
South London, by W. Besant. Illus. 
Westminster, by W. Besant. Illus. 

Supplementary Reading: 

Thackeray's Essays on Steele, Addison, Hogarth, Smollet, 

Fielding, Sterne and Goldsmith. 
Barry Lyndon, by W. M. Thackeray. 
Memoirs of a Cavalier, by Defoe. 
Life of Richard Nash, by Oliver Goldsmith. «\*^ 
The Beggars' Opera, by Oliver Goldsmith. 
The Virginians, by W. M. Thackeray. 
The Conduct of the Allies, by Swift. 
The Journal to Stella, by Swift. 
Pepys' and Evelyn's Diaries. 
Devereux, by Bulwer. 
Arbuthnot's History of John Bull, in Warner's Library of the 

World's Best Literature, vol. ii., p. 722-730. 
A Woman's Courier, being a tale of the famous forty conspiracy 

of 1696, by William J. Yeomans. 
Shrewsbury, A Romance, by Stanley Weyman. 
Cavalier and Puritan in the Days of the Stuarts, by Lady 

Newdigate-Newdegate. 

The Art of Fiction : 

The English Novel and the Principle of its Development, by 

Sidney Lanier. 
The English Novel, by Walter Raleigh. 
The Development of the English Novel, by W. L. Cross. 
Some Principles of Literary Criticism, by C. T. Winchester. 



mm 




21 

The Novel — What is it? by F. Marion Crawford. 

The Technique of the Drama, by W. T. Price. 

Principles of Success in Literature, by G. H. Lewes, edited by 
F. N. Scott, published by Allyn and Bacon. 

Relation of Literature to Life, by C. D. Warner. 

Some Aspects of Fiction, by Brander Matthews. 

Criticism and Fiction, by W. D. Howells. 

The Creative Art of Fiction, by H. A. Davidson, The Study- 
Guide Ser/es. 

The Study of Silas Marner, by H. A. Davidson, an essay, in 
the Riverside edition of Silas Marner. 

The Study of The Vicar of Wakefield, by H. A. Davidson, an 
essay in the Riverside edition of The Vicar of Wakefield. 

The Historical Romance (Dumas), by G. H. Lewes, British 
Quarterly, 1848. 

A Gossip on Romance, an Essay, by R. L. Stevenson. 

The Historical Novel, and other Essays, by Brander Matthews. 

The Historical Novel, by Paul Leicester Ford. 

The History of the Novel previous to the seventeenth century, 
by F. M. Warren. 

The Evolution of the English Novel, by F. H. Stoddard. 

A stud)'' of Prose Fiction, by Bliss Perry. The Riverside Press. 



Criticism : 

References for the study of the criticism of Henry Esmond are 
not included here. The reading of criticism should be deferred until 
the close of the study of the novel. Students are earnestly 
requested not to read criticisms of Mr. Thackeray as an author, 
or of Henry Es?nond, until they have become thoroughly familiar 
with the novel, and through the novel, with certain qualities and 
characteristics of the author. Critical opinions will then serve their 
true purpose, that of suggesting to one student the conclusions of 
another with which he may compare his own. The reading of criti- 
cisms upon literature of which one is ignorant is much like reading a 
guide-book in place of visiting a foreign land. 




22 






TOPICS FOR STUDY. 



SECTION I. THE AUTHOR. 



Thackeray's attitude of mind toward life and literature. 

I. Thackeray's Childhood : 

Life in India. 

Stepfather, 

Schools. 

II. Geneological table of the Thackeray family, from Dr. 

Thomas Thackeray, d. 1760. 

III. Thackeray's Education : 

a. Did Thackeray show any early indication of genius ? 

b. Did he receive any special training in composition or 
literature in school ? 

c. Did he receive any such training outside of school, or 
after he left school ? 

d. What was the character of his reading, so far as you can 
find? 

e. Why did he not complete his university career ? 

f. What was the most important influence of university 
life upon his mind ? 

IV. Thackeray's Money: 

a. What was the amount of his fortune ? 

b. How did he lose his fortune ? 

c. How did the possession and the loss of money in early 
life affect Thackeray — (1) in regard to the classes of 
society which he knew most intimately ; (2) in his mental 
attitude toward the rich ? 




23 



V. Thackeray's Early Literary Efforts: 

a. At the university — " Timbuctoo," "The Snob." 

Note. — Read Tennyson's "Timbuctoo" and Thackeray's bur- 
lesque, "Timbuctoo." 

b. What habit of mind does this early work indicate ? 
Contributions to Fraser's and Punch : 

c. What kind of subjects did Thackeray select ? How did 
he treat them ? 

References: See J. C. Hotton's book (mentioned above); 
examine Thackeray's collected papers (see his works) for 
the subjects treated, and read one or two papers carefully 
to ascertain his method. 

d. What seems to have been his purpose in these early 
papers ? 

e. The Snob Papers : 

What was Thackeray's definition of a snob? Why did 
he write these papers ? What is the spirit of the papers ? 
(See the " Snob Papers" in Thackeray's works.) 



2 4 

SECTION II, THE AUTHOR. 

VI. A Review of "Rebecca and Rowena" with reference to 

Ivanhoe : 

a. What points in Ivanhoe did Thackeray seize upon as fit 
subjects for burlesque ? 

b. Does this imply criticism of Ivanhoe ? 

c. What qualities and passages in Scott's style did 
Thackeray imitate in ' ' Rebecca and Rowena " ? 

Suggestion : The quotation of passages from " Rebecca 
and Rowena" will aid greatly in giving an idea of what 
Thackeray was attempting to do, Quoted passages from 
Scott and Thackeray should be placed side by side. 

d. Discuss the question whether there is in this burlesque 
any special indication of inherent qualities of the author's 
mind. 

VII. Thackeray's attempt to become an artist : 

a. What was the relation of his art study and art work to 
his literary life ? 

b. How did it influence his literary production ? 

c. What is the character of his illustrations in his own 
works ? 

d. For which did he care most — literary art, or art in 
painting and drawing ? 

VIII. The Writing of Henry Esmond : 

a. At what time in Thackeray's life was Henry Esmond 
written ? 

b. Which did he undertake first — Henry Esmond, or The 
English Humorists ? 





25 

SECTION III. PRELIMINARY. 

Henry Esmond opens in 1691: 
t. What was the population of England ? 

2. What were the chief commercial and manufacturing interests ? 

3. What were England's most important colonies, in 1691 ? 
Note. — Special references are: The Age of Anne, pp. 194-6; 

Social England, vol. iv., pp. 473"5, 497, 53°, 581, etc., and Bright' s 
History of England, vol. ii. 

4. What reaction marked the restoration of Charles II. — 

a. In social England ? 

b. In religion ? 

c. In moral standards ? 

d. In Government ? 

Note. — Perhaps the best authorities are chapter ix., Green's 
Shorter History of England, and chapter ii., vol. i., Macaulay's 
History of England. Any good history of England will give the 
information. 

5. What is meant by the " Stuart Tyranny"? In what did the 
tyranny consist ? At what do you suppose that Charles and 
James were aiming ? 

6. What was the "Act of Uniformity " ? What was its purpose ? 

7. What was the " Conventicle Act" ? What was its purpose ? 

8. What was the Five-Mile Act ? 

9. What was the " Declaration of Indulgence" ? What was its 
purpose ? 

10. W T hat was the •■ Test Act" ? 

11. When and what was the " Revocation of Edict of Nantes" ? 

12. What was the " Ecclesiastical Commission" ? 

13. What was the " Declaration of Indulgence" under James II. 
which the bishops refused to read ? Were the bishops justified 
in refusing to read this declaration ? Why did the people sup- 
port the bishops ? 

Note. — For an account of the struggle with the bishops, consult 
Green's Shorter History of England. 







26 



SECTION IV. PRELIMINARY. 






14 



15 



16 



17 



22. 
23. 
24. 



What were the causes of dissatis- 



James II: 

What was his character? 
faction with James II? 

Which party brought William and Mary to the throne of 
England? 

What part did John Churchill (the Duke of Marlborough) 
take in bringing William and Mary to the throne? 

What was the claim of William and Mary to the Crown? 
How did it differ from James's claim ? Was this difference 
important? 

What is meant by the " Protestant Succession"? Has that act 
any bearing upon the royal family now? 

Why did William become king instead of "Prince Consort"? 

What powers were permanently vested in Parliament at 
William's accession ? What liberties were secured to England ? 

Had the accession of William and Mary any effect upon the 
American colonies? What? 

For what did the Whig party stand at this time? 

For what did the Tory party stand at this time? 

When were the Jesuits expelled from England ? Why? 
Note. — For the character of James II. see William III., 
Twelve English Statesmen. Particulars of the Declaration of 
Rights will also be found in Bright's History of England, vol. iv., 
p. 806— 





27 

SECTION V. CHAPTERS I-II. 

Essay on Steele: 

25. Read Thackeray's essay on Steele. Make from it a brief 
character analysis by points. Which of these characteristics be- 
longed, or were due, to the age? Which were individual? 

26. Proceed, as you have time, to make an outline of the plot in 
Book I., by chapters. The plot is thin, but the points will be of 
great service in the study. 

Author's Introduction and chapters i-ii : 

27. Make a family tree of the Esmonds, placing in it all members 
of the family mentioned in Book I. 

2S. What were the politics and party affiliations of the family? 

29. What was the religion of the family? 

30. Do you understand Thackeray to affirm that circumstances, 
not character, determine a man's life? (p. 4.) 

31. What was the story of the Esmond family antecedent to the 
opening of this narrative ? 

32. What is the purpose of the preface? How must this point of 
view influence the character of the narrative? 

33. How many characters are introduced? Which of these do 
you think essential to the plot? Why? What characteristics are 
given each when first introduced? 

34. How many points of importance, either in the plot or in the 
relationship of persons, do you find in the first scene at Castle- 
wood? 

35. Can you see any reason why chapter i. should not have 
occurred in natural order after chapter vi? 

36. How old was Rachel Esmond at the opening of the story? 
Is she made to show any marked characteristic in the opening 
scene? 

37. Does Henry Esmond seem to you like an ordinary lad of his 
years ? If not, how does he differ from other boys ? 



28 



SECTION VI. CHAPTERS I-V. 



3 3. 



39- 



40. 



41. 



42. 



43- 



44. 



45 



46. 

47- 

48. 
49. 



Outline the life of Thomas Esmond as you gather it from 
these chapters. Has this character any importance in the plot, 
except as the father of Henry Esmond? Why did Thomas 
Esmond belong to the king's party ? 

When was the persecution of the Huguenots renewed in 
France ? In what way? How did the English regard that per- 
secution? Why did Thackeray make Henry's guardian French, 
and a Huguenot ? 

What was the reason that Father Holt and Dr. Tusher were 
treated differently in the family at Castlewood? 

When was the law passed which made it necessary for Father 
Holt to conceal, while in England, the fact that he was a Jesuit? 
Why? 

What was Father Holt's personal character ? What charac- 
teristics of his religion did Father Holt impress upon Henry 
Esmond ? 

By what reasoning did Father Holt justify lying in evading a 
wrongful demand ? 

How does this doctrine differ from the common social creed 
that it is sometimes justifiable to withhold a part of the truth in 
such a manner that the impression given is misleading ? 

Is it commonly held that all the truth should be told in 
business and in diplomacy ? If not, what is the justification of 
the deception that must take place ? (See John Morley's essay 
on Machiavelli. ) 

Under what circumstances is deception in some form an 
accepted code in modern life ? Is it justifiable ? 

How many plot elements in the incident of the drive through 
the village ? 

Make an outline of plot elements through chapter v. 

What indication of the theme, or purpose of the novel, do 
you find ? What elements which indicate a mystery, or point 
forward ? Is there anything which seems to be a preparation, 
that is, which is introduced and emphasized without sufficient 
reason in the story given ? 





2 9 

50. a. How many historical persons are introduced or mentioned 

in these chapters ? 

b. How many historical facts are given ? 

c. How many historical incidents having some connection 
with the story are introduced ? 

d. Are any of them essential to the story ? 

51. Is any one able to make, in outline, a plan of Castle wood 
and of the topography surrounding it ? 

Note. — The real Castle wood was Clevedon Court in Somerset- 
shire. Pictures of the exterior and of the hall are given in the 
introduction to Henry Esmond, biographical edition, pp. xxvii., 
xxviii. 

52. Are there any descriptions in these chapters which would 
serve as subjects for pictures ? 



SECTION VII. CHAPTERS VI— X. 

53. What was the plot for the restoration of James II. as given 
in the novel? Why did the plot fail? 

54. In what year was Richard Steele born? 

55. Make an outline showing the official positions held by Steele, 
with dates, and also his connection with The Tatter, The 
Spectator, The Guardian. 

56. In what points is Thackeray able in the novel to show the 
real Richard Steele? 

57. Does Dick the Scholar seem an unfair picture of Steele in 
any respect? 

58. What were the parties in the battle of the Boyne? For what 
was this battle fought? What was its importance in history? 
What is its importance in the novel? Is it essential to the plot? 

59. How do you explain Rachel Esmond's great love for Lord 
Castlewood in the beginning of her married life? 



■■ 



3Q 



60. What is the difference between innoculation and vaccination? 
When was innoculation introduced? When was vaccination 
introduced? 

61. How did Queen Mary die? Of what disease? 

62. How great was the mortality from small-pox in England at 
the end of the 17th century? 

Note. — See Macaulay's History of England, iv., 575-81, and 
Social England, iv., 156-7, 588. Notice especially the founding of a 
hospital in memory of Mary, Social England, iv., 551. 

63. What is the importance of the small-pox in the plot of 
Henry Esmond? 

64. Was the small-pox the real cause of the alienation of Lord 
Castlewood's affection from his wife? 

65. What changes in the character of Rachel Esmond took place 
as a result? 

66. When did Henry Esmond cease to believe in the doctrines 
of the Catholic church? 

67. What were his "Castles in the Air" when he left for Cam- 
bridge? 

68. How did Esmond's life in the University differ from that of 
other young men of his time? Why? 

69. How did university life as described in Esmond differ from 
university life now, as you know of it? 

70. What were the most important results of Esmond's life in 
Cambridge? 

71. What were Esmond's reasons for deciding to take orders? 
Why was he reluctant to do so? 



SECTION VIII. CHAPTER XI. 



72. Make a full outline of all plot elements in chapters vii.-viii. 

73. What characteristics of Lord Mohun were typical of the age 
in which he lived? 







3 J 



74. What was the chief difference in character between Francis 
Esmond and Lord Mohun? 

75. Make a character study of Rachel Esmond, in outline, with 
references to the text. 

76. In what did Rachel Esmond feel herself to be superior to her 
husband? 

77. In what, if in anything, was she really superior to him? 

78. In what.qualities, if in any, was his character superior to that 
of his wife? 

79. In what did Lady Castlewood's influence over her husband 
consist? How was it exerted? 

80. What was the reason that Lord and Lady Castlewood held 
different political opinions? 

81. State the difference between Lord and Lady Castlewood 
from Lady Castlewood's point of view ; from Lord Castlewood's 
point of view. 

82. What was Lady Castlewood's idea of Mohun's character and 
purpose? 

83. Why did Lord Castlewood cultivate Mohun? Did he under- 
stand his character? 

84. Which of the persons in this family group understood most 
clearly the relations of all to one another? Proof. 

85. How did the different members of Lord Castlewood's family 
explain his despondency? 

86. W T hat do you consider the real cause of it? 

87. Could the duel have been averted? How? 

Note. — For the historical duel in which Mohun was engaged, see 
Thackeray's essay on Steele, and Macaulay's History of England, 
vol. iv., index. 

88. Is there any indication, in Book I., of the secret imparted to 
Henry Esmond, by the dying Lord Viscount ? 



32 

SECTION IX. GENERAL TOPICS, BOOK I. 

I. Chronology of Book I. 
II. List of all characters in Book I. 

III. If the author divided his novel into three parts, as a drama is 
divided into acts, what is the real purpose, or subject of 
Book I ? 

IV. Plot outline of Book I: 

a. What is the beginning of the plot ? 

b. What antecedent plot elements do you find? Show the 
reason for the introduction of each part of the antecedent 
material. See definition of antecedent material under 
Note-book topic xi. 

c. Has Book I. any moment which may be called the dra- 
matic climax of the book? 

d. What is the conclusion of Book I? 

e. What is the situation at the close of Book I? That is, 
what unfinished threads of interest do you find which will 
form the beginning of Book II., and create interest ? 

V. A character study of the child Beatrix, with references to 

the text. 
VI. In what, or how, did the standards and ideals of Francis 
Esmond differ from those of the men you know in the present 
generation? Consider, — 

a. Moral standards, 

b. Purpose in life, 

c. Occupations, 

d. Amusements, 

e. Responsibilities. 

VII. In what respects did the position of a woman as represented 
by Lady Castlewood differ from the position of women, today? 
VIII. What characteristics of this age, as different from our own, 
have you found illustrated or explained in Book I ? 





33 
BOOK II. 

SECTION X. CHAPTER I-III. 



89. What does the author intend to show by Lady Castlewood's 
visit to Henry Esmond in prison? 

90. What is meant by "pleaded their benefit of clergy" ? 

91. What changes is Esmond's life were effected by the duel? 

92. What changes in the character of Henry Esmond took place 
in prison? Why? 

93. The trial of Mohun. (See Thackeray's Essay on Steele, and 
Macaulay's History of England, volume iv., chapter xix.) 

Chapter ii : 

94. What prevented Lady Castlewood from sending a kind 
answer to Esmond in reply to Steele's appeal ? 

95. Why is Rachel Esmond's beauty emphasized in this chapter? 

96. What moved the dowager Viscountess to a greater interest 
in Esmond when he was in prison ? 

97. How old was Newgate prison ? Where situated in London ? 
What classes of prisoners were sent there ? 

9S. What prisons does Dickens use in his novels ? 

Note. — See Little Dorrit, Pickwick Papers, David Copperfield, 
Bleak House. 

99. How does his representation of life in these prisons in the 
nineteenth century compare with Thackeray's picture of an 
earlier period ? 

100. What caused the sudden change in Esmond's manner in the 
presence of the Viscountess after he left prison ? Was this 
important ? 

101. What were Esmond's real reasons for choosing a military 
profession ? How did he procure his commission ? 

102. The death of King William. 



34 

Note. — See English Statesmen, William III., chap. xv. ; Mac- 
aulay's History of England, vol. v., chap. xvi. For character, etc , 
chap. vii. , vol. ii. For political and foreign policy, Green's Shorter 
History, chap, ix., sections vii. , viii., ix. 

103. Who were the enemies of King William in England ? Who 
were his enemies in Europe ? Why were they rejoiced at his 
death ? 

104. What parties and what classes in England supported Queen 
Anne? 

105. What was Queen Anne's title to the crown ? On what terms 
did she hold it ? 

106. What is meant by the term "Jacobite" ? 

107. How did the accession of Queen Anne affect the position of 
the Esmond family ? 



SECTION XI. CHAPTERS IV-VIII. 



Chapter iv: 

10S. Compare the story of Francis Esmond before the duel with 
this account. What is left out in the earlier narrative ? Why ? 
109. In what had Esmond the advantage over most officers when 

he entered the army ? In what was he at disadvantage ? 
no. What training or preparation for a military life had he had ? 
in. The English army in 1702 ; 

Note. — See Macaulay's History of England, vol. i., chap, iii ; 
Traill's Social England, vol. iv., 371-6, 538-46. 
Topics : The size of the army. 

How were the soldiers obtained ? 
The pay and life of the soldiers. 
The weapons of the soldier. 
The officers. 





35 



The Grand Alliance of 1701: 

112. Previous alliances— objects, membership, results of each. 

a. The Triple Alliance of 1668. 

b. The League of Augsburg. 

113. What is meant by the term "The Empire " ? What powers, 
cities, etc., were members of the empire at this time? 

114. What had been the darling ambition of William III. during 
his life ? 

115. Show the reasons which influenced each member of the 
Grand Alliance of 1 701 in joining. 

116. Prepare for reference a genealogical table showing the 
claimants to the Spanish crown at this time. 

117. The mistakes of Louis XIV. — what were they? 

118. Outline of the war up to the expedition to Spain. 
References. — Especially the Age of Anne, which will almost 

serve as a hand book for Henry Esmond, with its maps, plans, etc. ; 
Green's Shorter History of England is valuable on the motives 
and purposes of the allies. 

Chapter v : 

119. The expedition of Cadiz and Vigo Bay ; its purpose, incidents 
and results, and the capture of Gibraltar. 

Note. — See Age of Anne, chap, v., sec. iii., and Histories of 
England. 

120. How did Esmond happen to see Cadiz ? 

12 r. How did the campaign in Spain advance Esmond's fortunes? 

122. In what points is this expedition essential to the develop- 
ment of the plot ? To the historical background ? 

Chapter vi : 

123. What was Lady Castlewood's real reason for not bestowing 
the living on Esmond ? 

124. What was it that Rachel Esmond "must not tell" ? 

125. Why did Thackeray place the meeting between Esmond and 
his mistress in the cathedral ? 



36 

126. In the reconciliation, what did Thackeray strive to make 
clear ? 

127. What artistic means did Thackeray employ for giving 
beauty to this scene ? 

Chapter vii., viii: 

128. What purpose had Lady Castlewood in her conversation 
with Esmond about Beatrix ? 

129. In presenting Frank Esmond, fourth viscount, what charac- 
teristics did Thackeray bring out ? Why ? 

130. What is the effect, in the plot, of the emphasis placed by 
Frank upon Harry's "bar sinister" ? 



SECTION XII. CHAPTERS IX-X. 



Chapter ix : 



131- 



132. 



The campaign of 1704 : 

a. References : Age of Anne, chapter vii, ; 

School Atlas of English History ; Map of 

histories of England, etc. 



Gardiner's 
Blenheim : 



The purpose of the campaign. 

How did the three allies arrange the command ? 

The battle of Blenheim : 



1. Location. 

2. Generals and armies. 

3. Weapons in 1704. 

4. The plan of Louis xiv. 

5. Marlborough's plan ; (1) route, (2) difficulties. 

6. How was the battle won ? 
<?. The result of the battle. 

f. Marlborough : 

1. Personal character. 

2. Rise to power ; give the steps and the means. 

3. Generalship. 

What is the relation of the battle of Blenheim to the devel- 
opment of the plot ? To the historical background ? To the 
presentation of Marlborough's character ? 



■ 





37 

133- Trace Esmond's march. Can you locate him in the battle 
of Blenheim ? 

134. What plot elements do you find in chapter x ? 

135. Why was the " mistress of the robes" ungracious to Beatrix ? 
Why did she like Francis Esmond ? 



SECTION XIII. CHAPTERS XI-XIV. 



137 
138 

139 
140 
141 
142 



136. What had Mr. Addison done in literature previous to the 
writing of " The Campaign " ? 

What was Mr. Addison's situation at this time ? 

To what was his poverty due ? 

What were Esmond's criticisms on "The Campaign" ? 

How did Addison defend his lines ? 

What has been the later estimate of •' The Campaign " ? 

Thackeray speaks of "lines bad enough" in the poem; give 
your own opinion of it in regard to — 

a. narrative skill — that is, interest ; 

b. poetic qualities ; 

c. sincerity. 

Note. — See Addison's works and Thackeray's essay on Addison ; 
also chapter entitled "The Campaign," in McCarthy's The Reign 
of Queen Anne. 

143. What did Addison mean by "turning bear leader " ? 

144. The campaign of 1706 : 

a. Purpose. 

b. Generals. 

c. Relation to previous campaigns. 

d. Battle of Ramillies : Location of armies. How was it 
won ? The result. See Age of Anne, p. 97. 

e. How many and what promotions had Esmond received 
up to this time ? How had he gained them ? 



38 
Chapter xiii : 

145. When did Father Holt disappear from this narrative ? Why ? 

146. What points did Father Holt include in his summary of the 
events of Esmond's life ? Why were these selected ? 

147. How does Thackeray show the difference between Esmond's 
earlier opinion of Father Holt and his present impression ? 

148. What points, unknown before, are explained by the story of 
Esmond's mother ? What purposes had the novelist in with- 
holding these points ? 

149. What artistic elements do you find in the description closing 
this chapter ? 

Chapter xiv : 

150. The battle of Oudenarde : 

a. The purpose of the campaign. 

b. Its relation to previous campaigns. 

c. The allies and armies on each side. 

d. Geographical location. 

e. How was it won ? The result. 



SECTION XIV. CHAPTERS XIV-XV. 

151. Of what importance was the position of Lille in the cam- 
paign ? (See histories and map.) 

152. Why was Marlborough opposed to the besieging of Lille ? 

153. How did it happen that the Prince of Savoy could act in the 
matter contrary to the wish of Marlborough ? 

154. What is the meaning in the paragraph containing the sen- 
tence, " Eugene had a weapon," etc. 

155. What evidence does Thackeray present that Marlborough 
secretly favored the succession of the Chevalier St. George as 
James III ? 

156. What do you find in history on this subject ? 





39 
Dramatic Plot in Chapters xiv-xv. 

157. Why is Mohun introduced again, just at this time ? 

158. What is shown by the two short foot notes marked "R " ? 

159. In the account of Esmond's return, what points did Thack- 
eray emphasize ? 

160. a. How does the character of Beatrix differ from that of 

Lady Castlewood ? 
b. What was Lady Castlewood's idea of Beatrix's charac- 
ter ? Did she understand her daughter ? Make your 
discussion definite and give reasons. 

161. What evidences of Esmond's position and connections in 
England do you find ? Give references. 

162. Explain the political plot and its relation to the campaign at 
this time. 

163. What were the causes for disaffection in the army? 

164. What were the weaknesses in the character of General 
Webb ? 



SECTION XV. THE GREAT DUKE. 

Marlborough : 

165. Prepare a brief outline showing Marlborough's political 
affiliations and public career up to this time. 

Note. — See Marlborough, by Saintsbury, pp. 176, 177, for an 
estimate of the Duke's yearly income, and for Swift's famous "Bill 
of Roman Gratitude," and " Bill of English Ingratitude." 

166. What do you consider Marlborough's greatest qualities? 
His greatest weaknesses ? 

167. What was the secret of his success? What was the secret of 
his rise to power? 

168. What evidence of Marlborough's great ability do you find in 
Henry Esmond ? 



— 



mmm 



40 

169. From what point of view is the character of Marlborough 
presented to the reader ? For what purpose was the footnote 
about Marlborough introduced? 

170. Did Thackeray, the author, admire Marlborough ? Did he 
present a fair picture of the Duke, according to history ? 

171. Special character study of Marlborough in note-books, to be 
continued later. See note-book topics, p. 10. 

a. Characteristics as represented in Henry Esmond, with 
references. 

b. Was there any special reason why the Thackeray family 
should inherit a dislike to Marlborough ? 

SECTION XVI. GENERAL TOPICS, BOOK II. 

I. What is the situation of the plot at the close of Book II ? 
II. What is the purpose of Book I. in the plan of the novel? 

III. What is the purpose of Book II. in the plan of the novel? 

IV. In what respect does Henry Esmond at the close of Book II. 
differ from Henry Esmond at the close of Book I ? 

V. To what extent is the plot of the novel dependent upon the 
historical element ; or to what extent does the historical plot 
further the plot of the novel ? 
VI. What historical characters enter into Book II ? Are any of 
them essential to the plot ? 
VII. Which of the historical events narrated in Book II. are essen- 
tial to the plot of the novel? In what way? 
VIII. What literary characters are introduced in Book II ? 

IX. Does Thackeray attempt to give the view of Addison current 
in his day or the opinion of Addison's contemporaries? Give 
reasons for your opinion. 
X. Which view of Steele did he try to present ? 
XI. What characteristics of the times as presented in Book II. 
seem to you most marked ? 
XII. a. What special qualities of literary excellence do you find 
in Book II ? 
b. What are your tests in determining ? 





41 
BOOK III. 

SECTION XVII. CHAPTERS I-III. 

172. Esmond's reasons for being a Tory. 

173. What in the plot is served by the death of Lady Castlewood ? 

174. The battle of Maiplaquet : 

a. Location. 

b. Generals and armies. 

c. Relation to the general conduct of the war. 

d. Results of the battle. 

175. Does history warrant the reason for this battle suggested by 
Thackeray ? 

Note. — Support your conclusion by reference to authorities. 

176. What was the political effect of this battle ? 

177. Is this battle in any way essential to the plot of the novel ? 

178. Why is Mr. Holt again introduced at this point ? 

179. In what respects are Mr. Holt and Henry Esmond placed in 
contrast with each other ? 

1 So. What was the " divine right " to which Thackeray refers ? 

Note. — See Green's History of the English People under the 
reign of James I., and books on political theories. 

181. What charge against Marlborough is insinuated in this 
chapter ? 

182. In what way is the appearance of the Chevalier St. George 
at this time connected with the plot of the novel ? 

183. What influences tending to the downfall of Marlborough do 
you note in chapter i., Book III ? 

184. What plot elements are found in chapter ii ? 

185. When did the question of the title first become important in 
the story of Henry Esmond ? Show at how many points it 
has influenced the course of the narrative ? 

186. What evidence that Rachel, Lady Castlewood, loved Henry 
Esmond do you find ? 







■•-— " ■ ■ — 



wsmmm 




43 

187. The character of Beatrix : 

a. The secret of her power. 

b. Her ruling motive. 

c. The contradictions in her character. 

d. The faults that have been shown. 

e. What was her relation to her mother ? 
/. Why had she not married ? 

188. For what purpose is the paper from The Spectator intro- 
duced ? 



SECTION XVIII. CHAPTERS IV- VI. 

189. Give the Duke of Hamilton's political history and party 
affiliations. What have they to do with the plot of this novel ? 

190. Did Beatrix love Henry Esmond at the time of her engage- 
ment to the Duke ? 

Note. — Evidence of the author's opinion on this point will be 
found also in The Virginians. 

191. How many plot elements are connected with the incident of 
the diamonds ? 

192. Why has the revelation to Beatrix of Esmond's real claim to 
the title been delayed until this point in the story ? 

193. Is there reason in the plot for placing the chapter about 
"The Wits" between the two parts of Beatrix' love story ? 

194. What other purposes in the novel are served in this chapter ? 

195. How many elements of the political situation in England 
are introduced in chapter v ? Why is Swift connected with this 
dinner at Webb's ? 

196. To what political causes were the disgrace of Marlborough 
and the advancement of Esmond, Webb, and others due ? 

Beatrix and the Duke of Hamilton : 

197. Why did Beatrix dismiss Lord Ashburnham ? 





43 

198. Was Beatrix a desirable parti from the suitor's point of view 
at this time ? 

199. Why had she chosen to remain so long unmarried ? 

200. What reasons, do you imagine, determined the Duke of 
Hamilton to make Beatrix Esmond his duchess ? 

201. What were her real reasons for accepting him ? 

202. Would she have fulfilled her part of the bargain in good 
faith ? 

203. Had the marriage any political significance ? 

204. What is the significance in the plot of the novel of the fact 
that Mohun was the agent by whom Hamilton came to his death ? 

205. What part of the connection of Beatrix and the Duke is 
most important in the life of Henry Esmond ? 

206. What effect had the death of Hamilton on the character of 
Beatrix ? 

207. Two of the scenes connected with the life and death of the 
Duke of Hamilton are among the greatest in fiction. Choose 
the one of these scenes which seems to you greatest and discuss 
it, showing, 

a. The preparation for the scene in antecedent incidents, 
descriptions, etc. 

b. The significance of the grouping of persons. 

c. The relation of the scene to the plot. 

d. The dramatic intensity of the scene, — in what does it 
center ? 

e. The artistic elements of the scene, setting, etc. 




44 
SECTION XIX. CHAPTERS VII-XIII. 

208. Make a genealogical table for reference, showing the 
descendants of James I. , including the Pretenders and the House 
of Hanover. 

209. What political plot was involved in the death of the Duke of 
Hamilton ? 

210. What parties in England wished the return of the Stuarts ? 
2ii. What measures were necessary at this time to secure the 

return of the Stuarts ? 

212. What parties in England were opposed to the return of the 
Stuarts and what special difficulties were there ? 

213. What was the Jacobite scheme ? 

214. What new plot was proposed by Henry Esmond? How far 
back do you find evidence that the author had this plot in mind? 
Note. — For this topic, present with references all the items 

which have evidently been used to prepare the reader's mind for the 
plot, or to show the probability that the Esmond family would be 
chief conspirators in it. For instance, the earliest mention of the 
resemblance between Frank Esmond and the Prince. 

215. The historical plot for the return of the Stuarts: 

a. Persons concerned. 

b. Relation of parties to plot. 

c. Cause of failure. 

References, — Bright's History of England, vol. iii., 914-954; The 
Age of Anne; in The Reign of Queeii Anne, by Justin McCarthy, 
the chapters entitled, "Restoration Hopes Revived," "The Game 
Lost,"and "The Death of the Queen." Thackeray probably drew 
suggestions from several Jacobite plots for this part of his story, 
especially from those of 1714 and 1721. 

216. Is there a historical basis for the presence of the prince in 
England at this time, or for other incidents of the plot ? How 
many of the persons concerned in it are historical? 

217. How did Harley drive Marlborough out of England ? Why 
did he wish to do so ? 



» 





45 

2i8. What preparation, in anticipation of the Queen's death, did 
the Tories make? 

219. Who belonged to the party wishing to restore the Stuart 
dynasty? 

220. Who succeeded Lord Oxford in the Cabinet ? How did this 
change affect the succession? 



SECTION XX. CHAPTERS VII-XIII; continued. 



221. 



What was the reason in the dramatic plot of the novel for 
the introduction of this scheme ? 

222. What motives influenced Henry Esmond in undertaking it? 

223. Why did Rachel Esmond favor and aid the plot? What 
motives influenced Beatrix ? 

224. Did Thackeray intend the reader to learn anything from the 
interview with Beatrix which Henry Esmond himself did not 
understand ? If so, what ? 

225. Make a plot outline of the political plot as presented in the 
novel. 

226. How many of the characters of this novel were engaged 
in the plot ? 

Mark and give all the steps by which Esmond prepared the 
way for the return of the Chevalier St. George. 

Show what persons, parties, and influences he could rely on 
at the time of his arrival, to aid his cause. 

Show also what parties, persons, officials, etc., were inter- 
ested in defeating this plot, and why. 

Does the plan seem weak in any particular ? What difficul- 
ties or dangers did the conspirators fear most ? 

Give in outline all plot elements in chapter x. 

What courses of conduct, etc., in the Esmond family come 
to open issue, or climax, in the scenes of chapter x ? 



227. 



228. 



229. 



230. 



231. 
232. 



»«UU«UI 






46 

233. Which three incidents in chapter x. are most important in 
the plot of the novel ? Why ? 

Chapter xi., the Mingling of the Political and the Dramatic Plot : 

234. How many and what incidents did Thackeray combine in 
order to show the disposition of the prince to imperil a king- 
dom for a mistress ? 

235. Does the political plot depend upon the plot of the novel, or 
the dramatic plot upon the political, here ? Give points in 
support of your opinion. 

236. Give in outline all plot elements in chapters xii. and xiii. 

a. Where is the climax of the political plot ? 

b. Where is the climax of the dramatic plot ? 

c. Where is the conclusion of the dramatic plot ? Of the 
political plot ? 

d. Trace all results following the climax of the plots. 

237. What continuation or sequel of the plot is found in the intro- 
duction of this novel ? Show whether these are true plot 
elements, or results, following the climax. 

238. Show the preparation in the novel from the first hint, for, 

a. Esmond's marriage with Rachel. 

b. The flight of Beatrix. 

c. Esmond's change of party. Was it due to circum- 
stances or to real changes of opinion? Give proofs with 
references. 

239. There is in chapter xiii. , a scene which another novelist has 
called the greatest in fiction ; which is it ? 

Discuss this scene showing, 

a. The significance of the grouping of persons. 

b. The dramatic intensity of the scene, — in what does it 
center? 

c. The significance of the breaking of the swords. 

d. The significance of this scene in the plot. 

e. With whom is the sympathy of the reader in this scene ? 
Why? 





47 
SECTION XXI. GENERAL TOPICS. 

A. The Novel : 

I. Chronology of the novel to the end. 
II. Read again the introduction: 

a. What characteristics of Rachel Esmond are portrayed 
in it? 

b. To what characteristics of Henry Esmond is the atten- 
tion of the reader called ? 

c. The character of R. E. W., so far as indicated in the 
introduction and notes. 

III. Outline of the life of Henry Esmond after he went to 
Virginia. What means did Thackeray employ for informing 
the reader of Henry Esmond's later life ? 

IV. How did residence in Virginia modify Colonel Esmond's 
earlier opinions ? How do you judge ? 

V. How does the presentation of the character of Henry 
Esmond in the introduction differ from his character in the 
novel ? 
VI. What is the point of view from which Henry Esmond was 

written ? 
VII. Why did Thackeray choose this point of view instead of 
having Henry Esmond write of the incidents from year to 
year, as they occurred ? 
VIII. What difficulties arise in telling a story in the first person, 
when the plot is complicated ? Illustrate from this novel. 
IX. Was Henry Esmond jealous ? 

X. Did Beatrix love Henry Esmond ? Support opinion with 
reasons in proof ; consult the sequel to Henry Esmond, The 
Virginians. 

XL Character study of Henry Esmond : 

a. Intellectual qualities. 

b. Moral standards. 

c. Social creed. 




' 



4 8 

d. Political beliefs. 

e. Disposition. 

f. Ambitions. 

g. Show how this character is the central figure of the 
main plot and the relation to it of each subordinate 
character. 

Note. — In making this character study find illustrations and 
references to which you can refer as proof in support of each point. 
A character study of the hero of this novel has not been called for 
in the Topics for Study, because he is represented as writing the 
narrative of his own adventures. It is desirable, therefore, to under- 
take this topic with considerable care. 

XII. Show in what places in this novel Thackeray reveals to 
the reader points of view of Henry Esmond different from 
his own idea of himself ; how did he do this ? 
XIII. How far did the love of Henry Esmond determine his life ? 



SECTION XXII. GENERAL TOPICS; continued. 

B. Criticism of the Novel : 

XIV. What is the theme of Henry Esmond? 
XV. What do you consider the most important criticism to be 
made upon Henry Esmond — 

a. In construction ? 

b. In character study ? 

c. In the historical element in the plot ? 

d. In the presentation of historical persons? 

e. In the setting of the narrative ? 
/. In the composition and style ? 

XVI. What scenes, if any, remain in your mind as pictures ? 
Have you mental pictures of — 
a. What persons ? 





49 

b. What buildings or rooms ? 

c. What natural scenes ? 

d. What dramatic scenes? In which of these does it 
seem to you that Thackeray excelled ? 

XVII. Select the descriptive passages which seem to you the finest 
in the book. By what tests do you determine? 
XVIII. Which character seems to you most difficult to represent ? 
For what reasons ? 
XIX. Which character seems to you most finely drawn? Why? 
XX. Which scene seems to you most touching ? Which scene 
seems to you most dramatic ? Which scene seems to you 
most important in the development of the plot ? Give 
reasons for your opinion in full in each case. 

XXI. If you were to select the passage or chapter in Henry 
Esmond which seems to you in every respect the finest 
example of Thackeray's skill, which would it be ? Defend 
your selection at length. 

XXII. Characteristics of the author, Thackeray : 

a. What point of view is maintained by the author in 
Henry Esmond? Why ? 

b. On what devices did Thackeray depend for conveying 
to the reader an idea of the one writing in the first 
person, Henry Esmond? 

c. When and how did Thackeray first reveal to the reader 
that Lady Castlewood loved Henry Esmond ? How did he 
manage to keep this fact constantly in the reader's mind ? 

d. What means did Thackeray use for giving an air of 
veracious history to the narrative of Henry Esmond ? 

e. What digressions or asides, not essential to the narra- 
tive, if any, do you find in Henry Esmond? What was 
the purpose of the author in making these digressions ? 

Note — Any careful work upon this topic will take considerable 
time. It should involve the marking of every such passage in at 
least one of the three books of Henry Esmond, and the determining 
of its purpose, if there was one. 



So 

f. What social classes are distinctly introduced so that 
the reader gains Thackeray's idea of them ? 

g. What social classes are not represented in Henry 
Esmond ? 

h. Does Henry Esmond contain Thackeray's ideal 
woman ? What characteristics are essential to his 
ideal woman ? 

C. Thackeray's presentation of the Age of Anne : 

XXIII. Noted literary persons in Queen Anne's reign : 

In the case of each inquire — 

a. How the person is connected with the plot. 

b. The character of the person, — is it fairly and ade- 
quately presented ? 

c. What gave the person his reputation ? 

d. Compare the opinion of his contemporaries as repre- 
sented in Henry Esmond with the present estimate of 
the man and his work. 

XXIV. Political life in Queen Anne's reign: 

What have you learned — 

a. About parties and the objects each had in view ? 

b. About the royal family and court life ? 

c. About army life ? 

d. About the way men gained advancement ? 
XXV. Social life in Queen Anne's reign: 

How did it differ from life at the present time — 

a. In conveniences ? 

b. In roads and means of travel ? 

c. In class distinctions ? 

d. In manners and morals ? 

e. In occupation and ambitions ? 

f. In amusements ? 

g, What was the influence of women in social or in politi- 
cal life? 





5i 
CRITICISM. 

A few references to essays and critical reviews, especially to 
those contemporary with the publication of Henry Esmond. 

English Novelists and their Styles, by David Masson. Ameri- 
can edition, Boston, 1S92. See especially Defoe, Addison, 
and Thackeray. 

Littell's Living Age, vol. xxxvi., p. 277 — , 1853. Critical review 
of Henry Esmond, discussion of historical inaccuracies, 
defects in plot, character of hero, etc. 
\ Littell's Living Age, vol. xxx., p. 97 — , 185 1. Pendennis and 
/ David Copperfield: Thackeray and Dickens. A careful dis- 
cussion of style, literary qualities, etc. 

Littell's Living Age, vol. xxxviii., p. 292 — , 1853. Review of 
Thackeray's English Humorists. 

Littell's Living Age, vol. lxxxiv. , p. 93 — , 1865. Historical 
Novels; and p. 51 — , The Style of Thackeray and Balzac. 

Littell's Living Age, vol. xlvii., p, 562 — , 1855. Thackeray. An 
article which appeared in the New York Times, on the occa- 
sion of Thackeray's visit to America. 

Littell's Living Age, vol. xlvii. , p. 769 — , Thackeray and Fielding. 

Scribner's Magazine, vol. xxi. , old series; p. 68 — . 

Thackeray's Haunts and Homes. Illus. 

For other articles, or notes of special interest on Thackeray, see, 

Fraser's Magazine, vol. xlvi., p. 623. 

Cornhill Magazine, vol. ix., p. 655, 1864. 

Edinburgh Review, vol. ex., p. 438. The Virginians. 

Manual of English Prose Literature, by William Minto. For 
the study of Thackeray's style and of his indebtedness to 
earlier writers see, in chapter vi, p. 347 — , Defoe; p. 377 — , 
Addison; p. 392 — , Steele; in chapter v, p. 316-332, Sir 
William Temple. 

References to recent essays, reviews, studies of Thackeray, etc., 
are omitted. They are best found for special topics by consulting 
Poole's Index, and library catalogues. 



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